FROM IDEA TO IDEAL:
Finding Story In Premise
Your premise dictates the ideal shape of your story.
What is "premise"? Everybody defines it differently, and
it's pretty confusing. So let's cut through the fog:
The premise is the smallest packet of information that suggests a
story. The premise is the "story idea" from which a story
can be built.
The premise has to at least be two nouns. Pixar seems to go into each
new project with just a single noun. To complete the sentence
"Let's do a movie about..." they supply a noun:
"toys", "superheroes", "the sea".
These are not story ideas. There is no story idea there. There's no
premise.
To generate a premise, something in the noun's world must be doing
something. "A new toy challenges the established order."
"A superhero family fights evil." "A fish searches for
his missing offspring."
Once you have a person place or thing in a world doing something, you
have a story idea. There's your premise. It's basically a sentence.
Subject and predicate. Subject-verb-object. Actor acts upon object.
How do you get a screenplay out of this? It's easy.
Idea = Ideal. The premise dictates the ideal shape of the
story. How?
By abstracting the components of the premise.
For any given premise, there is a certain ideal shape to the story
that results. The ideal may be endlessly elaborated, given the many
configurations of characters, time periods and story worlds in which a
given plot may rest -- but it will be essentially the same ideal for
any given premise.
This is why we find certain story archetypes repeated again and again.
They are variations on an ideal implicit within the premise. Endless
variations can be spun but the ideal always arises directly
from the premise.
The movie's greatness, integration, balance -- arguably, all of these
rely on adherence to this ideal.
Let's see how this works. Here's a premise:
"Alien robots, who can transform into cars, solicit the help of a
young boy to defeat evil."
To move forward and start building a story, simply abstract the
components and create characters who symbolize and embody these
components. You want to create symbolic parallels between your
characters, through which they will act out the idea implicit in the
premise.
This process gives you a symbolic web, a foundation on which to build
all of your ensuing action. You start off with this integration and
stick to it -- and your story can't help but be integrated and
tightly-knit from the very beginning.
That's what the story ideal is -- the most organic and integrated
development of the potential implicit within the premise.
Create parallels -- the young boy would be a car freak. That's
how he'd meet the autobots. And he would be like a robot, in general
-- cold, mechanical, unfeeling. And like these robots, specifically --
able to transform into anything.
So, he would be a hard-driving con-man, out to achieve his goals by
any means possible.
When you abstract and synchronize your characters, you create points
of correspondence. You then create a reason for these
characters to exist...for them to be in this story and no other.
Synchronize all your characters symbolically -- make sure they relate
to the premise in some form.
The antagonist would be someone antithetical to robots. Something
completely biological, something not mechanical in any way. Some alien
amoeba, some vast beast.
Our human being would be a bridge between these two extremes. He would
be the key, not only for the robots to prevail over the beast, but for
the beast to defeat the robots. Both sides would fight to obtain him
and utilize him in their cause.
We see a little bit of this in the plot of Transformers. Both
sides needed Sam. But, they needed him to provide the location of
something else they both needed -- information which he only
had because of a torturous plot device.
So he's fairly extraneous to their struggle. There's nothing in his
nature which renders him the right man for the job, symbolically.
There's no reason for him to be there. He's just a kid, a nerd who
wants to be cool, and hanging with the robots gets him, somehow, to be
cool and hook up with the hot girl. And, inexplicably, he's got the
drive and the skills to help the robots with the stuff they need to
do.
None of this has any resonance to, nor correspondence with, the
premise of the movie -- and the movie, as it inevitably will, suffers
because of it. We can talk for hours about how good or bad
Transformers was (and there'll be less argument about
Transformers II). But in a perfect world, had the writers been
free to build the movie organically from the premise -- we would've
seen something way more integrated as a result, and probably a lot
more awesome.
Bear in mind this represents an ideal. For so many reasons, a movie
will fall short of this ideal. It's not a perfect world, after all.
But the more perfectly a screen story is realized, the closer it gets
to this ideal, the better it gets -- the more inevitable it
feels, like something which the gods have willed.
Writers work like dogs to get to this place. Let your premise do some
of the heavy lifting for you. Let it design your story before you even
start writing.
Let the story ideal work for you.
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